“Charity suffereth long, and is kind; charity envieth not; charity vaulteth not itself, is not puffed up.”
I Corinthians (ch. XIII, v. 4)

The musical art-form formerly known as rap is in a time of great strife and degradation. The tenuous fault line that separates the old and new school is dividing further apart everyday. Nothing lasts, everything is gimmick, what was considered new and fresh one week is now passé and retired the next. No one style is consistent; rulers of the past keep trying to reinvent themselves into modern day rap jesters playing to the throne, and their subjects criticize them for it. There is no imagination, no thoughtful intelligence, no real lyricism, it’s all just gibberish set to a drum beat; which consequently was what our parents said about the music of our era so in that it’s cyclical. But lo and behold, when I’m just one lame punch line away from screaming, “fuck this rap shit I listen to classical,” the artist formerly known as Percy Miracles aka Phonte drops a magnum opus of musical excellence so splendid that I dare say it’s the best rap album I’ve heard since I first heard rap.

Actually, I don’t want to disrespect this album by calling it mere rap, it has transcended that short crass word and become more than just the sum of its parts. It’s Metta World Peace Rap, an amalgamation of thought provoking and witty sonnets set to well balanced and crafted instrumentals. ‘Charity Starts At Home’ is the first solo album from Phonte of Little Brother/Foreign Exchange fame. Phonte has always been an artist of great personal integrity and artistic merit. His lyrical style is current and witty without resorting to rhythmic clichés and incoherent punchlines, plus his content is thought provoking without coming off as preachy. When you listen to his words you connect with him and relate to the story that he’s telling, he speaks from the heart and not just boasting off the top of his head

‘Charity Starts At Home’ is 12 tracks of pure high quality uncut dope that commands your attention, and makes you hit the instant replay to hear that amazing line again. The “play on words” opening track ‘Dance in the Reign’ puts Phonte in full MC mode. In a world full of self crowned Kings Phonte just two-steps past them, too busy being himself to stop and try to keep up with their petty monarchy, “This rap shit is not the life I live/it’s a tool that I use that’s it/no great fortune to show for it but fortunate that no one can say his life ain’t his.” ‘The Good Fight’ marks the musical reunion between Phonte and 9th Wonder and hearing the LB veteran recite lyrics over those signature moody keys and subdued drums once again.

‘Charity Starts At Home’ manages to avoid and surpass one of the pitfalls of an artist’s first album, it doesn’t get bogged down by the featured guests. The selected collaborators compliment the track they’re on and not try to outshine the main attraction. On ‘Not Here Anymore’ Elzhi picks up what Phonte put down and flows effortlessly on the infections drum beat. Phonte and Median expertly trade and weave thru bars on ‘Eternally Yours’, the former Justice League crew member excels here and makes this a standout feature. Other standouts are ‘We Go Off’ features the legendary Pharoahe Monch lending his talent and ‘The Life of Kings’ brings in Evidence and Big Kritt and pushes them in the limelight and they come out shining. A part time crooner, Phonte puts on his sangin’ voice for ‘To Be Yours’ and ‘Gonna Be A Beautiful Night’ with the enchanting Carlitta Durand. Speaking of ladies, Phonte has chosen some of the finest (pun intended) chanteuses to lend their heavenly voices to his album. From Sy Smith, the aforementioned Miss Durand, and the lovely newcomer Jeanne Jolly, these ladies elevate their respective featured tracks to a higher level of musical appreciation.

My favorite track on the album is ‘Sendin’ My Love’ in its honest portrayal of the frustration and struggle that men go through in our relationships with the women we decided to settle down with. Tigallo has always been able to capture, portray, and relate real life situations that everyday people go through. His lyrics don’t bask in opulence and ignorance, they see into the soul. “Too much honesty in here get ear plugs/Something in the way society rears us/Commitment wigs us… out, it tears us apart/and makes us feel like we don’t need to/and that turns into I don’t need you.” He continues this theme on the introspective ‘Ball and Chain’, and carries it to its logical conclusion on ‘Who Loves You More.’

‘Charity Starts At Home’ starts strong and ends even stronger, making this an unchallenged classic in circles where real music still matters. And if it really does, then come award time I hope to see Phonte accepting his well earned and long deserved accolades for all he has given to us. Charity does indeed start at home but it does not have to end there.

 -JayTeeDee

Peanut Butter and Jelly isn’t just the title of track number 10 on 9th’s latest album, The Wonder Years; it’s also the perfect way to describe the album. Peanut butter is an ingredient that is good on its own, but can be augmented by being partnered with other equally good or better ingredients, and conversely be diminished if partnered with something that’s not as tasty. 9th’s production is the peanut butter, the foundation of the album, and the artist’s contributions the jelly, the “sweet stuff,” the thing that compliments those banging beats and helps you to continue devouring the album. When those contributions are particularly tasty, the album is most delicious, but when they’re lackluster or completely awful the album suffers. Thankfully, the album is more off than on and delivers a great listen overall.

To be completely honest, I pressed play on The Wonder Years preparing to be disappointed but when Make it Big began to play, I felt my fears begin to dissipate. Phonte does his thing on Band Practice, followed by Murs completely ripping Enjoy but it’s not until One Night that I hear “that something special” from 9th. To be fair, 9th brings some heat on this album and does a great job of selecting females that sound dope over his tracks: Mela Machinko sounds so perfect on Now I’m Being Cool that I had to check and make sure she wasn’t a sample, and Marsha Ambrosius sounds terrific on the previously mentioned PB&J. The combination of Terrace Martin, Phonte and 9th, though, is where you would expect to hear 9th 9 years after The Listening. It’s an iron sharpening iron moment for sure, 2 great producers and a dope MC crafting an outstanding track that sounds unlike anything on the entire album.

Terrace Martin, however, got more attempts than anyone else, a total of 3, to create a banger with 9th and thankfully, he pulled out One Night because Never Stop Loving You and A Star U R are good, but they’re just that, good.  The Wonder Years has one of the best skip/play ratios on an album I’ve heard this year, with only 2 of 16 tracks being skipworthy (Streets of Music, Hearing). There’s also the matter of Erykah Badu’s previously released 20 Feet Tall. There’s nothing wrong with it, but with essentially only a rap added to the composition I fail to find its relevance on the album.

I know the heads will enjoy the unlikely pairing of Rae and Remo on No Pretending and the ladies are gonna love Your Smile. The Wonder Years s very cohesive and sounds best when played top to bottom, an anachronism on producer albums.  All in all, the strengths and weaknesses of The Wonder Years depend on its collaborations and luckily the Grammy winning producer gels well with the artists he’s selected.

Not that anything else was needed to showcase her diversity and artistry behind the microphone or her ability with the pen but we believe this: Jill Scott’s “Vault” at Hidden Beach rivals the most celebrated artist’s collections in modern music history. Like great wines that are sometimes left in storage for that special occasion when it’s complexity peaks inside the barrel we hope you enjoy and savor it now, this fine collection of Bordeaux, like a sommelier let loose in the cellars of Rothschild Vineyards .

The new album is called, “The Original Jill Scott from the Vault (Vol. 1).” Pick up the album HERE.

You will enjoy this album if…

You love the steady, soulful sound of Words & Sounds Vol. 1 & Vol. 2, Jill’s first two albums. The Vault, Vol. 1 does showcase the honesty and vulnerability that we have come to expect from Miss Scott, but this album is more quiet reflection than exuberant celebration. In other words, you want to serve wine (and not “party punch”) with this one.

It may be helpful to think of this album as a thread that stitches together Jill’s first three albums, rather than a bridge between Jill’s early sound and her work on Light of the Sun. Somewhere in the 20-page booklet that accompanies the Deluxe Edition of the album, we will probably gain insight into when the songs on this album were recorded and what prevented them from being released before.

Interestingly, there are no guest appearances on The Vault (Vol. 1). Not that Jill has ever needed any help, but there must be some quality collaborations that have not been shared with her fans yet. Maybe we’ll see those on Vol 2…

Stand-Out Tracks

“Wake Up Baby” – words from a wiser big sister to a young girl caught up in the game.
“Lovely Day” – If it’s possible to hear a smile while someone speaks, then Jill is beaming while covering Bill Withers’ 1978 classic.
“Holding On” – Jill channels the true spirit of the original lounge singers on this song…perfect for the first 10 minutes of quiet at the end of a long day.

If You Only Have 10 Minutes…

Listen to “Running Away” , “Wondering Why” and “Comes to The Light [Everything]”

If You Only Have 3 Minutes & 20 Seconds…

Jill Scott – Comes to The Light [Everything]

The Best Lines of the Album

Look at me /
Stressin’ and things /
Worrying about what I /
can not fix /
Allowing my troubles to take over /
Getting my own needle and thread /
forcing the stitch /

-taken from “I’m Prettier”

I received Exit E during a period of great disappointment with soul music and was prepared to hear an “ok” album upon listening.  I never dreamed however, that this album from Milwaukee would reveal a musical Dark Horse. Enter singer/songwriter Esnavi and HER acoustic soul which hearkens back to the days of Dionne Farris and yes, India.Arie. Although these comparisons are relevant, she finds a way to merge the two into a seamless sonic entity that cannot only sooth but also rock on!

Esnavi’s introduction, Planet E, is the perfect way to welcome us to her aural abode and she makes it so comfy too! Its bass heavy and jazzy with an organic feel that will have you reaching for a head wrap and incense. I joke, but this definitely feels like some trademark neo-soul, yet she asks you to Open Your Mind before traveling on her lyrical carousel because this is indeed Futuristic Soul.

What is futuristic soul, you ask? At the end of the album, I’m sure you’ll agree, it just means good music. Whether she’s belting out soulful ballads, soothing you with her acoustic guitar or engaging you with her rock/soul chorus on Morning Dew, Esnavi unleashes her undeniable soul in a way that will leave you begging for more. Her beautiful voice and apparent marriage to the acoustic guitar, which appears on most, if not all of the 16 tracks of Exit E help create a wonderful album that will leave you wondering what’s next for this bright, shining emerging star.

This question is more poignant than it seems. Esnavi is very versatile, and switches styles on the album at whim; just peep the difference in ballads between Electric Fantasy and Waterflows. Lyrical carousel indeed! She also meanders between underground and pop sensibilities on Exit E with the commercial Ding Ding and Oh My which leaves you wondering if she’s vying for the crossover radio hit at the risk of her overwhelmingly appealing soul. We’ll just have to wait and see.

DJ Quik has been producing records in record time for years. And like many of his peers, Quik often takes a seat at the other side of the table, boasting of his versatility through raps on many of the tracks he’s produced for other artists. But how many know of his personal discography?

It all started with his debut album, Quik Is the Name, released in 1991. Many fans, and critics, regard it as one of the most acclaimed rap albums of its time, having a great impact on West Coast hip hop especially. The album went platinum and was included in the Source Magazine’s 100 greatest hip-hop albums. Since then, DJ Quik has had his hand in producing some of the most popular tracks of the past 20 years. He’s worked with damn near everyone—from Janet Jackson to Talib Kweli, Tony! Toni! Tone! to Nate Dogg, and the likes of Erick Sermon, Ice Cube, and even Will Smith. Quik has also released seven more solo albums. His latest of those, The Book of David, was released April 19.

When listening to the new LP, certain tracks surely sound above the rest. Quik airs issues he’s faced over the years on “Fire and Brimstone,” an offbeat, knocking track that serves as an immediate exclamation point at the beginning of the album. “Luv of My Life” features a funky bassline and evokes the laid-back lifestyle of the West Coast. The horns on “Killer Dope” are, dare I say, dope—sharp lyrics and a killer chorus make for a fresh track. Then there’s “Nobody.” What’s not great about this cut? Its old school vibe, classic vocals, the witty lyricism of Suga Free and Quik, and an infusion of electric, funky sound are a delight to listen to. Further, “Boogie Till You Conk Out” features a nice mix of electric guitar, and native-like wind pipe vibes that will keep your ears interested. The lyrics of Quik, and the legendary Ice Cube, mesh easily with the unique sound.

A few of the tracks featured on The Book of David show off Quik’s knack for producing, but lazy lyrics take down their quality a notch or two. “Do Today” and “Across The Map” both come off as catchy yet corny, the former having too many—weak—layers. The beat for “Ghetto Rendezvous” is potent but mediocre raps water it down. “Real Women” is smooth but cliché. As is “Time Stands Still,” as Quik rushes a love story à la spoken word, while Dwele perfectly croons the chorus. “Babylon,” “Poppin,” and “Hydromatic” can be skipped. All are fillers on an album that has more misses than it does hits.

“Flow For Sale” and “So Compton” have a playful sound with flavorful melodies including electric guitar playing, but both songs are far from anything special. “The End” is incredibly smooth. Its choir-like vocals, transition into a smooth beat as Quik raps, as he should have done throughout the album, before the selection finishes with mesmerizing instrumentals—a somewhat compensatory conclusion.

Get it on iTunes.

Buy it via Amazon.com.

I guess one could say that it was recorded in a vain similar to The Way I See It…..an analog sounding recording process, lush with live instrumentation, muddy bass drums, loose snares, etc…..definitely a retro feel it.

The record starts off with “Heart Attack”, rock n’ soul infused groove, with Mr. Saadiq singing aggressively to complement the rhythm section.  ”Go To Hell” stands out, due to heavy use of rolling toms & lush strings, a definite keeper.  ”Radio” with its somewhat common (but definitely not bad) 50s/ 60s guitar riffs puts in mind just the kind of song I could hear on the radio during that time frame.  ”Over You”, while not filler, it one of my least favorite tracks.  He does make a good mix the the guitar & strings though….

The title track, “Stone Rollin’” is seriously a head-nodder/ two-stepper mid-tempo groove….check for it.  ”Day Dreamer” is slick, up-tempo track with cool, bouncing piano riff laden with hand claps.  ”Movin’ Down The Line” is definitely my favorite track on the record.  The arrangement puts me in the mind of the mind of lush, floor walking Marvin Gaye song (ironically, Saadiq sends a shout out to Leon Ware, a Gaye collaborator).  ”Just Don’t” featuring Little Dragon’s Yukimi Nakano is another track worthy of note.

The thing I like most about “Good Man” is the smoky, juke-joint vibe about it.  I could for truly hear this on the jukebox in Cozy Corner (R.I.P. Junior).  ”The Answer” is a prime example of an album’s ending track should be…..shuffling drums, climatic strings….the epitome of a finale.  There may or may not be a hidden track on “Good Man” in the final release…..

In closing, Stone Rollin’ is definitely a project worth considering.  Given the fact that I expected something completely different, I was thoroughly impressed & surprised.  Mr. Saadiq once again has delivered….

4.25/5.00

Release date:  May 10, 2011

April 19, 2011 marks the release of Nü Revolution, the highly anticipated third album from the Grammy-nominated, Afropean soul-singing sisters—Les Nubians. We, BamaLoveSoul, have been blessed with an advance copy of the French-Cameroonian sister duo’s upcoming project and want to let all that plan to pick up the album know that you won’t be disappointed. To those that aren’t anticipating—Hélène and Célia Faussart’s upcoming release comprises music your ears shouldn’t miss. Let’s journey through the soon-to-be released, enchanting 14-track collection.

Les Nubians’ “Nü Queens Intro” sets the stage with a rhythmic African drum ensemble. The dry, punchy vibe of the collective makes for a contrasting transition into the melodic “Liberté.”

“Liberté,” “Nü Revolution,” and “Fraîcheur Souhaité” each employ a driving and soothing melody, with an uplifting quality that will empower you. The themes of these selections—sought-after freedom, necessary revolution, and desired freshness—are expressed in a quaint, intrusive way that surely gets each message across.

Then, “Nü Soul Makossa” picks up the pace. With the help of legendary Caribbean saxophonist-vibraphonist Manu Dibango—most notably known for his 1972 afrobeat hit “Soul Makossa,” which many consider to be the very first disco record—the sisters fill the musical space with vibrant vocals and precise spoken word that will have you bobbing, if not dancing.

For “Les Gens,” the duo softens the vibe. Though evident throughout the LP, their tactful intertwining of French and English are most distinct on this track. Ghanaian MC Blitz the Ambassador, tacks on several heartfelt bars at the end of the selection, amid their lovely voices.

If “Nü Soul Makossa” didn’t pull you to the dance floor, the edgy “Afrodance” surely will. Or rather, compel you to create your own makeshift dance floor in the kitchen, living room, wherever. There’s no French on this track; nothing romantic about this dance. The steady beat, horns, and subtle variety of background sounds will make you shake your afro, whether you have hair or not.

The next song, “Déjà vu,” is the low point on an album with mostly highs. The duo and feature, Eric Roberson, attempt to serenade over an offbeat, sporadic melody. But, what one might expect to be an ear-pleasing mix of sounds, is heard as jumbled and unorganized.

The worst on the album is likely followed by the best. “Veuillez Veiller Sur Vos Reves,” remixed by DJ-producer J.Period, is superb. Hélène and Célia’s soulful vocals, John Banzaï’s French-hop, and the smooth backbeat and bassline, are a delight.

The next two tracks, “Vogue Navire” and the provocative “Femme Polylandre,” both evoke a meditative, sensual aura through their slow conversation or song, and steady, submerged beats. Think bedroom, with the lights off.

“Je M’en Occupe,” “M’Bengue,” and “Africa For The Future” conclude the album perfectly. Les Nubians’ Cameroonian flavor comes to the forefront in each. The songs bring full circle the ethnic honesty, and zeal for understanding, the duo embraces to breathe life into Nü Revolution.

Click HERE to pre-order your copy of Nü Revolution.

See below for the full track listing:

1. Nü Queens Intro
2. Liberté
3. Nü Revolution
4. Fraîcheur Souhaité (Freshness Desired)
5. Nü Soul Makossa feat. Manu Dibango
6. Les Gens feat. Blitz the Ambassador
7. Afrodance
8. Déjà vu (Already You) feat. Eric Roberson
9. Veuillez Veiller Sur Vos Rêves (J.Period Remix) feat. John Banzaï
10. Vogue Navire (Sail On)
11. Femme Polyandre (Polylandrous Woman)
12. Je M’en Occupe (I’m Taking Care Of It)
13. M’Bengue (A Letter From…)
14. Africa For The Future feat. Freshly Ground

MC/Producer/DJ J-Live has successfully entertained us for over 15 years and is releasing his fifth album, S.P.T.A. which will be preceded by his Undivided Attention EP November 2nd, 2010. Over the course of his four studio albums, J-Live has established a standard that he rarely deviates from:  incessant, dope beats and witty, intricate rhymes. This EP is no different, although Undivided Attention includes production by others besides The Triple Threat; Nicolay, Floyd the Locsmif, SMKA and newcomer Korede help handle the beat machine duties. Never a slouch on the mic, J-Live rocks well throughout the album and especially when verbally tag teaming your eardrums with Homeboy Sandman on Fitness. The only time the EP falters is when J-Live relinquishes the mic to 3TP newcomer, Oddy Gato on Calculations. As the final song on an overwhelmingly great EP, Oddy Gato’s social commentary over a J-Live beat is disappointing. However, my anticipation for S.P.T.A. remains high and once you wrap your ears around this EP, you’ll understand why.

I was beguiled during  my “1st listen” of Foreign Exchange’s new album by a friend that didn’t want me to get overly excited & cause a car accident, because Im the hugest FE fan and I was operating a motor vehicle. The entire time it played, I wondered aloud, “is this the new FE, you don’t know who this is, that sounds like Phonte, that doesn’t sound like Phonte to you? I think it’s them, Well if it is them me likeeee, I’m telling you it’s them!” Of course it was Nicolay, Phonte and crew & I was just being kept in the dark due to my unbridled, childlike excitement for things I love. It was a great attempt at a covert operation, however when I heard the 1^st 12 seconds of the album I knew immediately that Authenticity had arrived. Let’s go…

Following Connected and Leave It All Behind, of course there were will be comparisons and expectations for Authenticity. The overall tempo of the album is slower compared to its predecessors but still holds true to the Foreign Exchange aesthetic. Great instrumentation, great lyrics, but fewer collabos & tracks to dance to… change has occurred. Not to say that more collaborations and upbeat tracks mean a lack of depth, Authenticity just seems to have a different direction and goal. Aside from Maybe She’ll Dream of Me and Make Me a Fool there’s an absence of the upbeat, hit the floor tracks we’ve come to enjoy from the duo.

Whereas this is a good project, it feels like a 1st album, a regression from Connected and definitely Leave It All Behind. I was expecting them to surpass the feelings I still feel when listening to Leave It All Behind. The chills I got from the musical arrangements on their sophomore album I haven’t experienced on any track on Authenticity, not once. Yes, I’m aware this is a different album and you may be tired of my comparisons however, I have always been able to count on FE’s music to woo me and make me fall in love with the sounds & harmonies. While listening to Authenticity I was tuned in but because I was *paying* attention. Past albums on the other hand have *grabbed* my attention; no effort on my part.

My feelings could be a result of great expectations & a tainted palette. I didn’t come to the album with virgin ears; I came expecting a sound that many flock to in hail, rain, and snow to see live. The 80s electro pop acid jazz vibe, [think sounds a la Prince, Keen, The Postal Service] adds a new element to the FE repertoire. I like it but I don’t love it. It gets continued play because unfortunately it fades into the background & doesn’t distract me from my work. No singing along, no rewinding. I want to be distracted. Good album but not great. Not the classic Foreign Exchange that I’ve grown to love.

What are your thoughts…?

I have known this talented singer for years now. Nick Eden is always hard at work…putting out project after project and creating the marketing strategies himself to distribute his brand to the world.  Well, recently the Gulfport, Mississippi native  released his ep BEDucation. For all of you who are asking yourself, what does that mean, think about it. BED + Education= a REAL GOOD TIME! In this ep, Mr. Eden tells a story about making a certain unfulfilled woman feel like a princess. He assures her that he will teach her about what real love making feels like.

The song that really just gets the ep rolling is the title track “BEDucation”. I was told by Nick himself that this track along with two others were produced by Rocwilder who production credits go as far as Redman, Method Man, and many others through his rocbeats.com website which is surprising to me that he would make such a smooth and coherent R&B track. This track puts me in the mind of the late 90′s R&B music when it was really good. Sort of like Case, Brian Mcknight, Rome, and LSG. The next songs “Playground” ( produced by Rocwilder) & “Talkin Shh” (produced by FeltFive, who is also from Alabama and very talented) are really intimate and basically breakdown the logistics of BEDUcation which is really something I can go to in detail lol but you will just have to listen for yourself and get ready for class. Nick Eden definitely captures the essence of a good R&B/Soul EP. This is EP is for the “grown & sexy” and it’s A LOT of them out there who need this in there player doing that magical moment with their significant other…the drawback to that is that before you can get really into the lessons, it’s cut really short because it’s a 5 song EP! Nevertheless, don’t worry, Nick has assured me there is more music to come soon.  I would say, to the ladies ESPECIALLY, go grab this! Great music to set off a romantic atmosphere.

Nick Eden via Twitter

Nick Eden via BandCamp

Nick Eden Dot Net

FLASHBACKhoney gives Nick Eden // BEDucation 6 on the Head Nod Scale.

1=Don’t waste your time like I did mine.
2=Waste your time like I did mine but I dare you to disagree.
3=Well, there was the single.
4=If it were a hand in spades there’s “two and a possible”.
5=It’s a “good” album. Meaning at least 3 or 4 solid songs.
6=Really Good Project. Has the “Rewind Factor” more than once.
7=The number of completion. Great Album. Instant Classic.

Purchase Nick Eden BEDucation at iTunes

Go ahead, go out & get YahZarah ‘s new album The Ballad of Purple Saint James right now.  It’s a 6 out of 7 head nods. That’s it, review over. Lol. Wouldn’t it be wonderful if reviews were that concise and straight to the point? Alas, it isn’t; so here’s why you’re slipping if you didn’t get it four weeks ago…

By divine intervention I missed the album sampler when it hit the streets back in April, so when I hit play on the album I was pleasantly surprised. I listened to YahZarah’s earlier albums in the past but was never sold.  Her contribution to The Foreign Exchange’s Connected and Leave It All Behind was great but I needed to hear her album to declare my full fledged fandom. {I make up words}.  Let it be known I didn’t read the booklet, nor scan to see who is on what track = suspense heightened yielding pleasant surprises!

I have a 6 second rule; these tracks complied on the 1st listen…

The first track was just okay to me but  Why Dontcha Call Me No More set the tone of the energy & strong vocals that live in the album.   Cry Over You woke me up & had me jamming on the way to work. The high hat & *what sounds like* electric guitar immediately pulled me into the track. Suddenly Phonte starts rapping & I’m like heyyyyy… I felt the vibe that swirled in the studio that night {they tweeted about it}, I was energized & good to go.

I love ballads and All My Days ft Darien Brockington did it for me.  It’s good to hear YahZarah’s standalone singing because it showcases the beauty in her voice.  It has a seductive quality that wasn’t present on her earlier work that forces the listener to hit rewind several times.  Darien’s input complements the song harmoniously as their voices intertwine and soar over the tracks.

Last to Leave & Starship originated from Introducing Purple Saint James.  Last to Leave is reminiscent of the 90′s sound when performances were driven by sound instead of booty action.  I envision YahZarah in a bar performing with 2 backup singers {think Xscape} & riveting piano keys supporting her as she spills her heart to the love of her life.   As I listened to the song I kept wondering if she sampled Aaliyah’s I Care for You… yet to be confirmed.  Starship is so so sooo much better on BPSJ.  Both renditions have a Prince edge to it but the updated version has YahZarah doing a stronger vocal performance that made it one of my favorites from the jump! Her voice reeks of emotion and growth that makes the song incredibly captivating.  The fusion of the instruments supports her voice in a manner that causes your ears to cleave to the ear buds in an effort to hear it louder.

Have a Heart, ahhhh, another fav.  I’m not a musical savant like most but I do believe this sampled The Isley’s Always Come Back to You.  I never knew YahZarah’s voice was this beautiful And I’ve heard it’s even better live.  The track opens with a sexy guitar riff that ushers in a singing whisper that builds powerfully into the strength of the words.

Without factually knowing that Shadow is the penultimate track, the listener could tell the album is coming to a close based on the lullaby feel you get as YahZarah’s voice embraces the piano keys.   It’s a perfect lead into the finale Love, Come Save the Day.  As upbeat as the album opened, it closes, on a tempo that makes the body sway as the trumpet does its thing.  The track speaks about love and the sunshine it brings.

The overall feel of the album both musically and lyrically shows that good work was put into the album.  I’m not sure if it’s the familiarity of working with The Foreign Exchange team that did it, but the production was on point and it showcased Ms Purple Saint James’ voice for all that it is.  It is for that reason that PinkBubbleGum gives The Ballad of Purple Saint James 6 out of 7 head nods.

Head Nod Scale

1 = Don’t waste your time like I did mine.

2 = Waste your time like I did mine but I dare you to disagree.

3 = Well, there was the single.

4 = If it were a hand in spades there’s “two and a possible”.

5 = It’s a “good” album. Meaning at least 3 or 4 solid songs.

6 = Really Good Project. Has the “Rewind actor” more than once.

7 = The number of completion. Great Album. Instant Classic.

YahZarah – Have A Heart

BUY

First off…I have to say that I have been there in the beginning….watching this beautiful sista grow into the artist she is today. No, I don’t mean I was physically there with Ms. Erica Abi Wright, but I was there growing with her music as she evolved. I have to say, Erykah Badu not only inspired me in many ways as an artist, but so many of my singer friends and others alike.

There was Baduizm which had everyone in ’97 wondering who this chick with the head wrap was and what she represented. Next was Mama’s Gun which showed Erykah‘s growth and ability to stretch beyond her critics limitations. World Wide Underground was just a reminder to fans that “Hey! I’m still here and doing my thing“. Badu‘s New Amerykah Pt. 1: 4th World War came out of nowhere and made fans and naysayers believers again…that she was here to continue bringing us classic,funky,soulful music for generations to come. Now with the New Amerykah Pt. II : Return of the Ankh dropping March 30, 2010, after many push backs, it has puzzled people as to what new sound Erykah Badu will return with.

For myself, I hear the same Erykah Badu. Vocally she is the same and lyrically there is some stifling but nevertheless, she is still dope stylistically and musically. What disappointed me about this album is it’s inability to be cohesive as it’s sister albums. I’m sure those on Badu‘s tits will disagree but this is my review and my thoughts. Don’t get me wrong, the songs are good and some better than others, but it still lacks in many ways. I don’t feel what the long wait was for like I did with Mama’s Gun or with her Kedar label mate D’Angelo‘s album Voodoo. I really prayed that the songs she released wouldn’t be apart of the album but they were so I kind of was ready to give this review before chosen to do so LOL Here is my breakdown of the latest album:

Conclusion:
 
I think that overall this album could have been held back a little more until some thought was put into it. Love Badu, love the songs, but lyrics do not have any depth. I think she is running out of ideas or she is going through writer’s block as a lot of great musicians and singers do. I give her points for being her original self vocally and for her style as an artist.


FLASHBACKhoney gives this album 5/7 nods
Head Nod Scale